colleges
this is undoubtedly the case. Harvard, for instance, would admit him
to a course (French 2) in French Prose and Poetry, which includes some
"composition," to be followed by (6) a General View of French
Literature, (8) French Literature in the Eighteenth Century, (9)
French Literature in the Seventeenth Century, (16) Comedy of Manners
in France, (17) Literary Criticism in France; and in some of these
courses the linguistic aspects would be considered in the form of
"themes," "reports," etc., while the student could choose (5) Advanced
French Composition for that special purpose. Other colleges (e.g.,
Johns Hopkins, Chicago, Stanford) offer the same or similar
opportunities. So that, although titles of courses are often
deceptive, the general plan of offering (1) an introductory course in
which both the language and the literature are treated, (2) a
survey-course in literature, leading to (3) various courses in
literature after 1600, and supported by (4) at least one specific
course in language, now constitutes the normal collegiate "major" in
French; and, on the whole, it would be difficult in the present
circumstances to devise a better plan.

=Changes in current practice that will enhance effectiveness of teaching
of Romance Languages--Danger of minimizing the language phase=

It is obvious that the success of any plan depends on the thoroughness
with which it is carried out, and this in turn depends on the
qualifications and energy of those who have the matter in hand. That
contingency does not concern us here. But what is worth noting is that
the fourth point mentioned above,--the specific language part of the
"major"--might be strengthened, especially since some excellent
institutions omit this consideration entirely. The danger of falling
between two stools is never greater, it seems, than in treating both
language and literature. An instructor who is bent on elucidating the
range of Anatole France's thought naturally has little time to deal
adequately with his rich vocabulary, his deft use of tense, the subtle
structure of his phrase--and yet who can be said really to "know" such
an author if he be ignorant of either side of his work? "Thought
expands but lames," said Goethe--unless it is constantly controlled by
fact. In order to give the undergraduate that control, it is essential
that he should be placed in the position everywhere to verify his
author's thought. How difficult it is to bring even the